23-05-2014, 02:03 AM
OK. Next round of tweaks based on suggestions. 
My choice to keep the "oh-wa-oh-ohs" down during the quiet bridge was inspired by EKN's mix where he pulled them out entirely. However, as per pauli's suggestion, I brought them up just a tiny bit. I left them alone otherwise, though, as I actually like their dramatic impact during the lead vocals, and since they only impact the lead vocals on the choruses (where everyone by that point in the song is already familiar with the words
) I figured I'd leave them alone otherwise.
I was going to apply a highpass filter at 200 Hz on all the snare drums but found out when I went back that I already had except for the sample, so I applied a 200 Hz highpass on the sample and amped up my EQ settings on all the snares to sharpen them up a bit.
For the sibilance on the lead vocal I really liked the EQ settings I had and any attempt to de-ess with the main EQ just muddied the sound. I suppose I could've used a multiband compressor but I prefer the smoother sound of EQ adjustments. So I decided to add a parametric EQ in series before the main EQ pulled down about 9 dB at 8800 Hz in a very narrow notch; hopefully this will take some of the edge off the sibilance without muddying the lead vocal.
Personally, I like the piano more up front during the final crescendo. However, I may have overdid it just a little.
So it's still higher than it was in the beginning but not as aggressive as I had it before.
As part of my EQ settings on the guitars I had a 9.5 dB boost at 80 Hz to bring some body to them. Maybe that's a wee bit too much body; you might be right about that muddiness. So I pulled out the 80 Hz boost left the rest of the settings intact (-4.5 dB @ 950 Hz, +6.5 @ 5600 Hz and +9 dB at 12 kHz).
And yes I was aware of that click; sounds like somebody left a metronome on.
However, I liked the tail-off of the piano so much that I decided keeping it rather than fading it out prematurely or trying to notch it out with EQ or something was the lesser of two evils. 
My choice to keep the "oh-wa-oh-ohs" down during the quiet bridge was inspired by EKN's mix where he pulled them out entirely. However, as per pauli's suggestion, I brought them up just a tiny bit. I left them alone otherwise, though, as I actually like their dramatic impact during the lead vocals, and since they only impact the lead vocals on the choruses (where everyone by that point in the song is already familiar with the words
) I figured I'd leave them alone otherwise.I was going to apply a highpass filter at 200 Hz on all the snare drums but found out when I went back that I already had except for the sample, so I applied a 200 Hz highpass on the sample and amped up my EQ settings on all the snares to sharpen them up a bit.
For the sibilance on the lead vocal I really liked the EQ settings I had and any attempt to de-ess with the main EQ just muddied the sound. I suppose I could've used a multiband compressor but I prefer the smoother sound of EQ adjustments. So I decided to add a parametric EQ in series before the main EQ pulled down about 9 dB at 8800 Hz in a very narrow notch; hopefully this will take some of the edge off the sibilance without muddying the lead vocal.
Personally, I like the piano more up front during the final crescendo. However, I may have overdid it just a little.
So it's still higher than it was in the beginning but not as aggressive as I had it before.As part of my EQ settings on the guitars I had a 9.5 dB boost at 80 Hz to bring some body to them. Maybe that's a wee bit too much body; you might be right about that muddiness.
So I pulled out the 80 Hz boost left the rest of the settings intact (-4.5 dB @ 950 Hz, +6.5 @ 5600 Hz and +9 dB at 12 kHz).And yes I was aware of that click; sounds like somebody left a metronome on.
However, I liked the tail-off of the piano so much that I decided keeping it rather than fading it out prematurely or trying to notch it out with EQ or something was the lesser of two evils.